In a live concert, I am very concerned about the quality of the radio. If a singer on the stage wants to use the microphone to reproduce the beautiful original sound of the singing, he must first learn the correct posture to hold the microphone. Although the posture of holding the microphone on the stage is strange, some do not need to sing to the mouth, and the posture of holding the microphone does not need to be particular, but incorrect use of the posture will greatly affect the sound effect of the microphone.
Singer Fei Yuqing uses the wireless microphone to sing in an excellent way, and it can be seen that he uses the microphone well. He uses the standard way of holding the microphone that has not changed for decades. The microphone is like his own body, and his enthusiasm for music can be felt by the careful and regular way of holding the microphone. Fei Yuqing's microphone is about 10 cm away from his mouth, sometimes extended to 15 cm. The height of the microphone head is about the lower lip without covering the face. The microphone is at a 45-degree angle with the torso. The arms are close to the torso, and the elbow joints are naturally placed in front of the torso. (Not behind the torso) And be careful not to shrug your shoulders. Let's discuss in detail below:
1. Microphone characteristics
When using a directional wireless microphone to sing, pay attention to the posture of holding the microphone, because the distance between the microphone and the mouth will significantly change the sensitivity and sound quality, especially because the sensitivity of the microphone is inversely proportional to the square of the distance between the mouth.
2. Dantian gas foot
For those with insufficient Dantian Qi, the microphone should not be too far away from the mouth. If the volume of the amplifier is turned on, it will easily cause feedback sound; for singers with thick voices, the microphone should not be too close to the mouth, which will easily lead to excessive saturation and distortion. .
3. The proximity effect affects high and low sounds
The directional microphone has a very obvious proximity effect (Proximity effect). When the microphone is close to the mouth, the bass will increase greatly as the distance decreases. Therefore, if the throat bass is insufficient, you can move the microphone closer to the mouth to compensate for the bass and increase the magnetic thick effect; Conversely, if the singer's voice is too deep, you can move the microphone away from your mouth to reduce the close-in effect of the microphone, reduce the bass, and make your voice clearer and brighter.
4. Popping Noise (PoppingNoise)
The distance between the microphone and the mouth has a great influence on the wind cut noise, especially the microphone with high sensitivity and strong bass response, the storm cut noise will be more serious. In order to reduce the lack of this kind of noise, in addition to adjusting the better distance of the microphone, it is better to buy a microphone that has the characteristics of preventing wind cut noise. The higher the quality of the microphone, the more particular about the design of preventing storm noise.
2. Standard grip
1. Keep a proper distance of 10 to 15 cm (a fist wide for a good microphone; three fingers wide for a bad one). It is necessary to keep the mouth and the microphone properly. If the distance is too close to the mouth, the sound will be too loud. When there is a breathing sound, there will be a continuous popping sound; and the sound will be forced to be lowered and smaller, which greatly reduces the cadence of the singing voice. So if you keep a proper distance, you can make the singing voice have a greater play.
2. Hold the upper or middle part of the microphone
Generally speaking, the position for sending and receiving messages from a handheld wireless microphone is at the lower end, so if you hold the upper end, the microphone transmission quality can be more stable. Be careful not to cover the microphone head, not only the sound will be muffled, but also easy to generate feedback noise.
3. Try to keep facing the mouth
Older microphones have a sound receiving position at the top of the microphone, so when speaking into the microphone, try to raise the microphone as much as possible to allow the sound to "fill" from the top of the microphone. This can make the microphone's sound quality better.
4. Don't hold it on the top of the microphone
Holding the microphone head with the palm of your hand will destroy the poor sound quality of the microphone, even for expensive microphones. The reason is that grasping the net head is equivalent to isolating the sound head and changing the resonance frequency of the air chamber, resulting in degradation of the microphone's frontal frequency response and directivity, and Due to the convergent effect of the palm, the resonance of a certain frequency will be enhanced and the feedback sound will be generated.
5. Avoid the microphone facing the speaker
Generally, wireless microphones used for singing are more directional, so standing the microphone on either side or behind the speaker will not produce buzzing feedback. If you need to stand in front of the speaker, you must pay attention to the microphone not directly facing the speaker. The front of the cardioid microphone is parallel to the speaker at 180 degrees, or the front of the super-directional microphone is maintained at 120 to 140 degrees, and the feedback sound is minimal.
6. One-handed or two-handed
(1) When holding with one hand: the exchange of left and right hands is more lively and vivid, and the muscles are not prone to lasting soreness. (2) When holding with both hands: There is a posture of humble, pleading, and eager hope.
3. Microphone directivity
1. Directivity (Unidirction)
If the microphone can only receive sound in a certain direction, it is called a directional microphone. Usually the sensitivity on the front of the microphone is high, and the sensitivity on the back is almost zero. This kind of directional microphone is especially important on the stage, because it only receives the sound from the front, and the sound from the side or the back will be rejected, which can avoid a lot of unnecessary noise. When using it, you must be careful about the direction of the microphone. If the direction is wrong, the sound received will be wrong. Some microphones can adjust its orientation, and can be adjusted as needed during use.
That is, a microphone can receive sounds from all directions, and the collection of the drums of the whole set of drums, hoping to receive a clean and simple sound source, an omnidirectional microphone may not be a good choice.
3. The directivity of the microphone will also degrade the directional characteristics due to the proximity of the two microphones interfering with each other. The degree of degradation is proportional to the distance between the two microphones, so users should avoid holding two or more microphones in one hand. Use to avoid deterioration of volume, frequency response and directivity. If you have to use multiple microphones at the same time, the distance between the microphones must be at least 30 cm apart.
Four. Other points to note
1. Avoid turning on or off the microphone on the stage at will, otherwise it will cause a "pop" sound in the audio system. This sound is a sudden wave, which can easily damage the audio system and the loudspeaker.
2. If you suddenly want to cough, don't turn to the microphone, turn your face to clear your throat.
3. Avoid holding two microphones with one hand, because when the two transmitters of different frequencies of wireless microphones are used close together, they will produce harmonic interference of internal modulation distortion. The closer they are, the more serious the interference will be. Will make the problem of instability worse.
4. Relatively high-quality stage microphones, some have a Standby option in addition to On and Off on the switch, which is between On and Off. If you want to temporarily turn off the microphone, you can switch from On to Standby so that no glitches will be caused (it is still possible to switch directly to Off). Some microphones on the stage deliberately lock the switch in the open state, and some microphones are not switched at all to avoid glitches.